Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Gülay - Kalanların Ardından - Chord
Key Ab major – F minor Chords Cm, Bbm, Db, Eb, Fm Easy key C
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Key: Ab | Fm
Capo: 0
Cm Db Cm Bbm Cm Bbm Cm Eb Bbm Eb Fm Fm Cm Db Bbm Cm Bbm Cm Db Bbm Cm Cm Bbm Cm Eb Bbm Eb Kaalsın geride bu aşk, aaanma adımı Fm Cm Db Eğdirme başımı yar Bbm Cm Bbm Cm Db Bbm Cm Sana ben keenndim kuurban edeyim Fm Cm Mal etme özümü Db Bbm Cm Bbm Cm Db Bbm Cm Sevdaaaamı siineeeeme gööömüp gideyim Cm Db Beden ayazda karda Cm Db Yürek ağrıda harda Fm Eb Ah tam da gelmişken sevdalı baharda Db Cm Olur mu veda Fm Eb Ah tam da gelmişken sevdalı baharda Db Cm Bbm Cm Olur mu vedaaaaaaaa Db Bbm Cm Biiiilmez bi vefa Cm Bbm Cm Bbm Eb Bbm Eb Söönsün ateşim, ele yak aşk odumu Fm Cm Savur at külümü Db Bbm Cm Bbm Cm Db Bbm Cm Yelleereeee kaarıııışır tuufan edeyim Fm Cm Db Bbm Cm Db Bbm Cm Sürmeden yüzümü ben saana, uzaktan iiiman edeyim Cm Db Beden ayazda karda Cm Db Yürek ağrıda harda Fm Eb Ah tam da gelmişken sevdalı baharda Db Cm Olur mu veda Fm Eb Ah tam da gelmişken sevdalı baharda Db Cm Bbm Cm Olur mu vedaaaaaaaa Db Bbm Cm Biiiilmez bi vefa
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Gülay - Kalanların Ardından Tabs
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Harmony analysis
Gülay – Kalanların Ardından: key and chord analysis
The song opens on Cm and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 10 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Ab or to Fm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 26× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 39× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 21× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 10× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 26× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 39× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 21× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 10× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 106 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bbm Eb Abii → Vii → V Fmiv → VII ×4
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
- Db Fm AbIV → vi FmVI → iVI → i ×2
The move to watch is Bbm → Eb, heard 4 times. From the Fm side it is iv → VII; from the Ab side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Bbm, Db, Eb; read them as iii–ii–IV–V in Ab or v–iv–VI–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Eb (ii → V in Ab, iv → VII in Fm): ii → V — the classic preparation of the dominant. The final chord is Cm; the ear comes to rest in Ab.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Gülay - Kalanların Ardından Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Yasemin GöksuMusic: Mazlum Çimen
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